MouthpieceBy Kieran Hurley Traverse Theatre Company
EDUCATION RESOURCE
Resource developed by Deanne Bullen 2019
Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions.
The content remains the property of Adelaide Festival Corporation, 2020.
The Adelaide Festival Education Program is generously supported by Lang Foundation & Thyne Reid Foundation Contents
Mouthpiece Show rundown ...... 1 EDUCATION RESOURCE Warnings ...... 1
Themes ...... 2 CONTENTS Production ...... 2 OVERVIEW & WARNINGS Curriculum links & activities ...... 2
THEMES, PRODUCTION & CURRICULUM Theatre etiquette ...... 3 Performance literacy ...... 4 BEFORE THE SHOW Thinking about what’s happening ...... 5 AFTER THE SHOW Opening scene ...... 6 More info about the scene ...... 7 ABOUT THE COMPANY Examine/research & apply ...... 8,9 ADDITIONAL RESOURCES What did you think? ...... 10 Big questions to ponder ...... 10 Critical responses to theatre ...... 10 Analyse & apply ...... 11,12
Meet the company ...... 13-15 Additional resources ...... 16 Show rundown
Mouthpiece Australian Premiere / Australian Exclusive 90 minute show – no interval WARNINGS EDUCATION RESOURCE Content Winner of the 2019 Carol Tambor Best of Edinburgh Award, Mouthpiece is - Smoking on stage (e-cigarettes) CONTENTS unmissable; destined to be a classic of our times. After critically acclaimed, sold out performances in Edinburgh and London, the - Drug references OVERVIEW & WARNINGS Traverse Theatre Company returns to Adelaide with Kieran Hurley's confronting new - Strong language play about class, culture and appropriation, following their smash hit 2019 production - Scenes of a sexual nature THEMES, PRODUCTION of Ulster American. & CURRICULUM Salisbury Crags, Edinburgh. Twilight. A woman takes a step forward into the air. - Contains descriptions of violence A teenage boy pulls her back. Two lives are changed forever. and references to suicide BEFORE THE SHOW Who are they and where have they come from? Libby, a middle-aged, middle-class Production playwright has not picked up a pen in years and, roundly rejected by London’s artistic AFTER THE SHOW establishment, spends her time brooding in the rarefied environs of Edinburgh’s - Haze machine New Town. Declan is a 17-year-old struggling with a volatile home life on a deprived - Flashing lights (not strobing) ABOUT THE COMPANY Edinburgh housing estate, but in possession of a remarkable artistic talent. When Libby’s despair drives her to a literal cliff edge, their lives collide. But if you ADDITIONAL RESOURCES think you’ve heard this story of despair and the power of an unlikely friendship before, Mouthpiece is way, way ahead of you. As their relationship strengthens and develops, SUPPORTED BY BRITISH Libby decides Declan’s story must be told. And sure, it doesn’t hurt that it also might COUNCIL reboot her career… From its startling opening, through to its final devastating showdown, this audacious, gripping and self-questioning play invites us to probe where the lines should be
drawn. It’s very funny, very moving and will have your head spinning with the knotty Supported by Creative Scotland and the City of ethical issues it provokes long after you leave the theatre. Edinburgh Council. Originally produced in association with HighTide.
1 Themes Production
Mouthpiece Mouthpiece takes a look at two Style and Conventions different sides of Edinburgh that exist FOURTH WALL Around 75 minutes in, the character in ignorance of one another, and asks EDUCATION RESOURCE of Declan breaks through the fourth The line dividing the stage from whether it’s possible to tell someone wall and walks into the auditorium to the auditorium, it is invisible and else’s story without exploiting them perform amongst the audience. He imagined, and separates the along the way. CONTENTS addresses them directly (in character) actors from the audience. but does not physically interact with the The audience can see through OVERVIEW & WARNINGS audience or engage in any participation this "wall", but the actors act Key themes: with them. as if they cannot. THEMES, PRODUCTION • middle class meets working class & CURRICULUM • examining who has the privilege to be able to speak about certain issues Curriculum BEFORE THE SHOW • about people and love links & AFTER THE SHOW • people searching for a sense of shared purpose or understanding in activities a world that increasingly tells us we’re ABOUT THE COMPANY supposed to function as atomised This education resource has been individuals (self-interested and largely developed with links to SACE ADDITIONAL RESOURCES self-sufficient individuals, operating Stage 1 and 2 and the International as separate atoms) Baccalaureate. The resources are • simple, emotive moments and created with links and in relation to scenarios to really look at a subject the subject outlines. from every angle
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2 Theatre etiquette
The French word etiquette, and it’s second meaning, was adopted by English speakers in the middle of the 18th Century – “requirements for proper behaviour.” Mouthpiece This can sound a bit formal but having an understanding of “theatre etiquette” helps an audience know what to expect and how to get the most out of their theatre experience. EDUCATION RESOURCE
Why does it matter? CONTENTS It respects other audience members attending the performance. It shows respect to the performers. Don’t forget – you can see them, and they can see you! It acknowledges the hard work that it takes to bring a live performance together, by everyone. OVERVIEW & WARNINGS It often includes a long list of people.
THEMES, PRODUCTION What are theatre etiquette expectations? & CURRICULUM Depending on the age of an audience the expectations can vary. Theatre designed for very young audiences, think 2 to 8 year olds, will have different expectations. Often the theatre experience for younger audiences will invite and encourage BEFORE THE SHOW participation. However, as the content becomes more complex and audiences mature, think 9 years and older, there is an expectation that students will have developed an understanding of enthusiastic participation and deliberate disruption.
AFTER THE SHOW What makes going to a live performance different to going to the cinema? Many audience members have probably been to see a movie but might not have been to a live theatre performance. The BIG ABOUT THE COMPANY difference is that the actors are live and are there with you in the moment. Don’t forget to show your appreciation. If it’s funny, it’s okay to laugh. If the actors invite you to respond, then it’s okay to respond. Sometimes it can also be sad so if you know ADDITIONAL RESOURCES it’s going to be sad don’t forget to bring a tissue or two.
What to expect: An usher will help you find your seat and you need to follow their directions. You will know the performance is about to start and that you need to settle and be quiet when the lights begin to dim or you hear a voice over or sounds. Turn off your mobile phone. Avoid eating or rustling food packaging. Try to cover coughs and sneezes. Go to the toilet before you go into the theatre.
Photographing and filming is not permitted and here are a couple of reasons why:
• It can disturb the actors on the stage and break their concentration
• Intellectual property is paramount. The production on stage is intellectual property of the theatre, therefore you are not allowed to take photos of it
• You will be missing out on the detail you can’t see through the viewfinder
3 Performance literacy
Art is a means of expressing emotion, a way of transmitting feelings, culture, beliefs and values between the creators and performers of the work and the audience. There is some art, which is created for the explicit purpose of eliciting a strong Mouthpiece emotional response from the audience. There are a myriad of emotions that students can experience when they are viewing EDUCATION RESOURCE live theatre from happiness to anger, surprise, annoyance, just to name a few. Students might ask - but how is live theatre different from watching films in a cinema?
CONTENTS The difference is that actors are real people telling stories on stage, the audience is with the actor in the moment. Recent research from the University of Arkansas, published in Educational Researcher, which spanned two years and followed OVERVIEW & WARNINGS school groups who attended live theatre performance or a movie version of the same story revealed significant differences. Students attending live performances experienced an increase in tolerance as well as a greater understanding of the plot and vocabulary of stories. THEMES, PRODUCTION & CURRICULUM Live Theatre Improves Learning and Tolerance
BEFORE THE SHOW As students engage with and watch live theatre they develop a deeper understanding of the language of the theatre. They develop literacies allowing them to ‘read’ the gestures and movements of a performer, develop an understanding of the intention of the set, costume, or lighting designer, or reflect on what the playwright or directors intended meaning of a setting AFTER THE SHOW or character could be. The Before the Show activities, for the Adelaide Festival show you are attending, are designed to support students to develop these literacy skills, knowledge and understanding. ABOUT THE COMPANY The After the Show activities are designed to provide students with the opportunity to discuss, analyse and comprehend ADDITIONAL RESOURCES their responses to the show. Having a strong knowledge and understanding of theatre terminology will support students.
4 Before the show
Thinking about what’s happening Libby is a lonely, disillusioned ex-playwright who has returned home to Edinburgh in her middle age to live in her mum’s spare room, still calling herself a writer even Mouthpiece though she hasn’t written a word in years. As a class: EDUCATION RESOURCE Declan is a teenage boy who is just as isolated and desperate as Libby. He does • Watch the short video clip of the actors drawings as a means of processing the trauma of a collapsing home environment and talking about their characters Libby and the stresses of growing up in poverty. Declan CONTENTS They (Declan and Libby) meet and form a kind of unlikely friendship. She introduces • Read the guest blog by Kieran Hurley him to the city’s cultural offerings, insisting they are his as much as anyone’s, and OVERVIEW & WARNINGS and his description of the characters inspiring in him the confidence to call himself a proper artist. He in turn awakens and the play in her the desire to write again, and she begins to write his story. And that’s where THEMES, PRODUCTION things slowly begin to get messy for them, as they’re forced to navigate the power & CURRICULUM of dynamics of who is and who isn’t afforded the privilege to speak and be heard in our culture, and Declan is faced with the inherent violence of being dependent on BEFORE THE SHOW someone else to speak your truth. As Hurley has Libby point out in his script, it’s basically the plot of Pulp’s Common AFTER THE SHOW People. Declan is, to some extent, an exercise in artistic exploration – a chance to see a different side of the Scottish capital, with a muse without the means to sustain ABOUT THE COMPANY himself. Read the review on Mouthpiece at Soho Theatre. ADDITIONAL RESOURCES Common People is a song by English alternative rock band Pulp released in May 1995 – protesting against class tourism. It reached number two on the UK Singles Chart.
5 Opening scene
Mouthpiece Salisbury Crags, As a class: Edinburgh. Discuss how someone in a situation where they are contemplating suicide, might be EDUCATION RESOURCE Twilight. feeling as they are standing on the edge preparing to jump to their death. • What would their movements, posture and voice be like? CONTENTS A woman takes a step • What would they be thinking? (Their internal monologue) forward into the air. Discuss how the person, a young person, might be feeling as he witnesses this OVERVIEW & WARNINGS scene and has to react and pull someone back from this moment. A teenage boy THEMES, PRODUCTION • How do you think they might be feeling? & CURRICULUM pulls her back. • What do you think the tension and mood might be between these two people? BEFORE THE SHOW Two lives are • What would they be thinking? (Their internal monologue)
changed forever. Discuss how you might stage a scene like this. AFTER THE SHOW • Where would you place the person who is about to jump on the stage?
ABOUT THE COMPANY • Where would you place the person who is going to do the saving?
ADDITIONAL RESOURCES
6 More info about the scene
Mouthpiece Search on Google Books, with the keywords
ABOUT THE COMPANY section from one published play text.
ADDITIONAL RESOURCES Their interpretation of the scene needs to convey their meaning to the audience. Performances: • Students perform their scene with the class providing specific feedback, to support their responses, on how the meaning was conveyed.
7 Examine/research and apply
Mouthpiece With class comes power. Mouthpiece is a story about class. Libby is a 46-year-old, middle-class woman, EDUCATION RESOURCE from a good part of Edinburgh and speaks proper English. She has known success as a professional playwright. Declan is a 17-year-old unemployed young man, with little money, who has been thrown out of college. He has a CONTENTS chaotic family life. He speaks with a strong working-class accent. Experimenting with class, status and power Start the activity: OVERVIEW & WARNINGS On a simplistic level they are defined here as: • Students receive their card and hold it, Class – a division of a society based on social and economic status. picture facing out, on their forehead THEMES, PRODUCTION Status – the level of power or influence a person has. • Do NOT look at your card & CURRICULUM Power – the ability where someone is able to achieve their goals despite • Walk around the room approaching others opposition from others. and reacting to their card BEFORE THE SHOW As a class: • Stop students after a prescribed amount of Students will investigate their own ideas of status and power through a simple time – approx. 1-2minutes AFTER THE SHOW task, which is also a bit of fun. Discuss with students that they will each: • Ask students to place themselves on a • get a single card from a pack of playing cards line in order of what card they think they ABOUT THE COMPANY • each of those cards is assigned a value – Ace holds the highest value and the are displaying. When students are lined up card showing 2 is the lowest ask them to check where they have put ADDITIONAL RESOURCES • when they receive their card they will – hold it on their forehead, picture facing themselves on the continuum out, without looking at it Students discuss what their experiences • they will need to figure out what card they have been given by how others were like: react to them when they approach them • how did others approach them • the activity should be done in silence with no dialogue • how did it make them feel Model with students how you might respond to seeing a card someone is • how did they approach others holding. What would be your body language if the person was holding an Ace Students repeat the same exercise with a – think movie star, sporting legend, Queen, prime minister? Think about how it different card. They could choose randomly would be different if someone was holding a 10 or a 2. or they are distributed by the teacher.
8 Examine/research and apply
Mouthpiece Class discussion: Create Ask students to consider what value/ The performance of Mouthpiece takes place in a number of settings including: EDUCATION RESOURCE status they would assign to both Declan • Salisbury Crags and Libby and discuss why they would assign the value they have chosen. • Art Gallery CONTENTS • Café Drawing on the work students have • Declan’s bedroom OVERVIEW & WARNINGS worked on previously, of the opening • Libby’s house scene, with Declan and Libby – students • Theatre THEMES, PRODUCTION consider how the scene would be & CURRICULUM different if the roles had been reversed, In a review by The List the author discusses how the productions is, i.e. if Declan was the one standing on the “Staged at a deliberately jarring acute angle on Kai Fischer's tiered set, Orla BEFORE THE SHOW Salisbury Crags contemplating jumping O'Loughlin's production plays everything the way Hurley's script demands, and Libby was the one who pull him back lithely going from naturalistic scenes to direct audience address – the fourth wall ending up another that Declan has to scale just to be heard.” AFTER THE SHOW from the edge. • What would be different Considering the two characters in Mouthpiece, the content of the play and the ABOUT THE COMPANY • How would they respond and what influence of geography students will design the set for the opening scene. would they say to each other The design of the set needs to consider the use of colour, texture, props ADDITIONAL RESOURCES Review by The List and space to create the impact they want to have on their audience in this opening scene.
9 After the show
Mouthpiece WHAT DID YOU THINK? BIG QUESTIONS TO PONDER Individually: In the final scene Kieran Hurley puts the paying audience in the theatre on the EDUCATION RESOURCE At the end of an interview with Kieran Hurley spot as Declan steps through the “fourth wall” and rips into the notion of an he talks about his role as a writer to leave the "authentic voice". narrative open for the audience. That he has a How can you buy authenticity for fifteen quid a ticket? CONTENTS continuing desire to leave an audience with a: Libby needed Declan’s story – but was it hers to tell? • Question • What do you think? OVERVIEW & WARNINGS • Thought If you were the director is there anything you would do differently? • Inference THEMES, PRODUCTION Students share their ideas with a partner then the whole class. & CURRICULUM Write about: CRITICAL RESPONSES TO THEATRE • what questions, thoughts and inferences you BEFORE THE SHOW were left with at the end of the performance Drama is a dynamic practice and responding to live theatre supports • why and what did you think the storytellers students to become better dramatic artists. Links are provided to a number of AFTER THE SHOW were asking us to imagine resources to support students to write a review and response to Mouthpiece. • what would you do next? A framework to support students to plan and develop their critical responses ABOUT THE COMPANY is provided. Pair and share Guide for Writing a Theatre Response ADDITIONAL RESOURCES Share with a partner your questions, thoughts and inferences. SACE Anaïs Nin said that • what were your similarities and differences? KU1 Knowledge and understanding of core • what questions did/do you have? concepts specific to relevant creative arts “We write to discipline(s). taste life twice, As a class: PA4 Development and application of practical • Listen: to the song and lyrics of Pulp’s skills, techniques, processes and technologies. in the Common People II2 Interpretation of the ideas of creative arts practitioners. moment • Read: The following articles: R1 Appraisal of creative arts products in terms · Working Class culture isn’t a fashion trend and in · of practitioners’ ideas, processes, and decision- Privileged kids need to stop fetishizing making. retrospection.” working class culture IB – Theatre Higher Level • Discuss: ideas and questions raised by Practically examine the performance conventions students after they have listened to of at least one world theatre tradition and apply this to the staging of a moment of theatre. Common People and read the two articles 10 Analyse & apply
As a class watch: Mouthpiece Individual work: The interview with Kieran Hurley by Drawing on the discussions and work students have completed ‘Before the show’, EDUCATION RESOURCE David Overend, Lecturer in Drama and they now write the dialogue for the role reversal. Students will need to consider: Performance Studies at the University of • The character’s internal monologue
Note: Ensure students work with different students.
11 Analyse & apply
Mouthpiece The students will work together to write the dialogue and set directions considering: EDUCATION RESOURCE • class, culture and power • mood and context • set design CONTENTS • sound
OVERVIEW & WARNINGS • how do the characters react to each other • can there be a resolution THEMES, PRODUCTION & CURRICULUM Using the ‘internal monologue’ technique explored in the before the show activity learning experiences in this resource to focus on heightening dramatic meaning – when there are awkward silences BEFORE THE SHOW between the characters. Students perform their scenes to the class. AFTER THE SHOW Audience provides feedback to actors about their portrayal of the characters and the ending they have written, including their set ABOUT THE COMPANY design and sound used. After they have seen the show, students can compare and ADDITIONAL RESOURCES contrast their design with Kai Fischer’s using a Venn diagram to identify the similarities and differences.
Critique Students write a 300 word justification to accompany their set design for the opening scene of Mouthpiece. The justification needs to: • Explain the use of colour, texture and props • Discuss the use of space, including the placing of set pieces and props • Outline how the design reflects what they want to communicate to the audience about the scene and how they want it to impact on them 12 Meet the company
Mouthpiece Traverse Theatre, Scotland As Scotland’s new writing theatre, the EDUCATION RESOURCE Traverse Theatre is a dynamic centre for performance, experience and discovery, often referred to as Edinburgh’s ‘beating CONTENTS heart of the Fringe’. Their year-round programme brings new stories and live performances that challenge, inform OVERVIEW & WARNINGS and entertain. They aim to empower artists and audiences to make sense of THEMES, PRODUCTION the world today, providing a safe space & CURRICULUM to question, learn, empathise and – crucially – encounter different people BEFORE THE SHOW and experiences. They believe that conversation and the coming together AFTER THE SHOW of groups are central to a democratic society. Shauna Macdonald - Libby Angus Taylor - Declan ABOUT THE COMPANY The Traverse are critically acclaimed and recognised the world over for their originality and artistic risk, which they Shauna has worked extensively Angus Taylor is currently in his third ADDITIONAL RESOURCES hope will create some of the most talked- across theatre, television and film, year of training on the BA Acting about plays, productions, directors, including performances in Born to course at the Royal Conservatoire writers and actors for years to come. Run (Traverse Theatre Company), of Scotland. King Lear and Pal Joey (Citizens Credits include: Mouthpiece (Traverse Theatre), The Cry (BBC), In Plain Theatre Company), San Diego, Three Cast: The cast for the Adelaide Sight (ITV), The Five (Sky), and film Sisters, A View from the Bridge, A performance of Mouthpiece are Star Wars: The Last Jedi (2017), The Midsummer Night’s Dream (Royal Shauna Macdonald as Libby and Angus Descent (2005), The Descent: Part 2 Conservatoire of Scotland) and A Taylor as Declan. (2009) and Filth (2013). Christmas Carol (Children’s Classics Concerts).
13 Meet the company
Mouthpiece Creative team:
EDUCATION RESOURCE Writer - Kieran Hurley Following is a link to an interview by the University of Glasgow with Kieran Hurley. CONTENTS He discusses factors that influenced him becoming a writer and he mentions how his OVERVIEW & WARNINGS teachers at school were a big influence.
THEMES, PRODUCTION Kieran Hurley interview & CURRICULUM Kieran Hurley is an award-winning writer, BEFORE THE SHOW performer, and theatre-maker based in Q&A Kieran Hurley
Glasgow whose work has been presented What was your first non-theatre job? Making sandwiches and coffees in a café. AFTER THE SHOW throughout the UK and internationally. Recent work includes: Square Go (with Gary McNair, What was your first professional theatre job? Paines Plough Roundabout); A Six-Inch Tearing tickets at the Arches’ box office. ABOUT THE COMPANY Layer of Topsoil and the Fact It Rains (Perth
Theatre); Heads Up (Show And Tell); Rantin What do you wish someone had told you when you were starting out? Lean in to those you trust, work hard, look after yourself and others, keep asking (National Theatre of Scotland); Chalk Farm ADDITIONAL RESOURCES why you want to do this and if you still do. And don’t be a dick. (with AJ Taudevin, ThickSkin). Awards include: Scotsman Fringe First Awards for Square Who or what was your biggest influence? Go and Heads Up and a Critics’ Awards for Corny maybe, but the people who have shaped me most are my brothers, my Theatre in Scotland Best New Play for Heads sister, my mum and dad, and my partner. Up and Beats. The film adaptation ofBeats
was released in 2019, after premiering at the What’s the best advice you’ve received? Don’t ever look for your whole sense of self in what you’re doing, in your ‘career’. Glasgow Film Festival.
If you hadn’t gone into theatre, what would you have been? I might have gone to art school, I might have been a teacher. I still might…
Do you have any theatrical superstitions or rituals? I’ll sometimes have a banana and a Lucozade before going on stage, if that counts.
14 Meet the company
Mouthpiece Director - Orla O'Loughlin Composer & Sound Designer - Kim Moore Orla O'Loughlin is a British theatre director. She is Kim Moore works as a composer, music producer and sound designer EDUCATION RESOURCE currently the Vice Principal and Director of Drama for across experimental, electronic and contemporary music, in theatre, Guildhall School of Music & Drama in London, and was dance and film. Her work varies from ghostly orchestral worlds to previously Artistic Director of the Traverse Theatre. distorted noise and electronic driven scores. CONTENTS Alongside this role, she also works as a freelance theatre director. Costume Designer - Sophie Ferguson OVERVIEW & WARNINGS Over the course of her career Orla has directed an eclectic mix of award-winning and internationally Sophie Ferguson graduated from the Edinburgh College of Art in 2016, and previously trained in stage management. She works with THEMES, PRODUCTION acclaimed work at a range of theatres, festivals and non- the Traverse frequently, as well as gaining experience across the UK & CURRICULUM conventional performance spaces. and Europe. She was listed in The Observer as one of the top fifty BEFORE THE SHOW Cultural Leaders in the UK and in The List Hot 100 of Women in the Arts. AFTER THE SHOW Associate Director - Katherine Nesbitt ABOUT THE COMPANY Katherine is an experienced director who has worked productions throughout the UK and who holds an MA (Hons) in Theatre Studies from the University of Glasgow. ADDITIONAL RESOURCES She co-leads Directors Space, a directing peer support network with the Young Vic Directors Network. She is also a script reader for the Traverse Theatre, National Theatre of Scotland and Papatango Prize.
Designer & Lighting Designer - Kai Fischer
Kai Fischer is one of Scotland’s leading stage and lighting designers and has worked widely across theatre, opera and installation art.
15 Additional resources
Close – written by Kieran Hurley, performed by Iain Robertson Mouthpiece First commissioned by Theatre Uncut. (12:39 minutes)
EDUCATION RESOURCE Interview with Kieran Hurley a Scottish Theatre Archive Kieran Hurley is a theatre maker – a writer and performer – with a background in solo performance. (2009) told the story of Hitch his journey hitchhiking from Scotland to the G8 conference in L'Aquila, (2013) a music-infused coming of age story about Beats CONTENTS life in small town Scotland and (2014) was a National Theatre of Scotland commission and tour. (6:12 minutes) Rantin
OVERVIEW & WARNINGS Mouthpiece – An interview with writer Kieran Hurley (1:33 minutes) Interview with Julia Taudevin and Kieran and Hurley about their collaborative work – Chalk Farm (10:38 minutes) THEMES, PRODUCTION & CURRICULUM Meet the cast of Mouthpiece The original cast - Neve McIntosh and Lorn Macdonald talk about their characters Libby and Declan. (1:43 minutes) BEFORE THE SHOW Rantin and Raving: An interview with Kieran Hurley AFTER THE SHOW David Overend, Lecturer in Drama and Performance Studies, The University of Edinburgh, thinks aloud with playwright Keiran Hurley about scales of connectivity linking theatre audiences to an aspirational political collective. (19:22 minutes)
ABOUT THE COMPANY Theatremaker Kieran Hurley: ‘Anything I write is a story about people and love, in some way’
ADDITIONAL RESOURCES
16 Guide for Writing a Critical Response
Opening Paragraph When •Language Usually Features: in past tense • Uses subject-specific language What • Descriptive language • Third person voice • Analytical language Where • Modality (how certain we are about something) • Cast and crew referred to by their full names or last Plot name • In text references (quotes or specific moments) Overview of the production and the intent of the playwright...
The artistic contributors – director, set designer, lighting, costume
1st Paragraph - Who 2nd Paragraph - What else How theatrical elements are Describe a key moment or scene communicated through the from the production actors... Actor’s name
Character they played
How were the theatrical elements Discuss1st Paragraph: how they engage Who the combined to communicate meaning audience - movement, voice to the audience?
Give examples
3rd Paragraph - Technical aspects Concluding Paragraph - Summarises the viewers opinion Describe a key moment or Your overall thoughts about the scene from the production production. This is not a rating of the Note: production.
What made it stand out?
How were sets, lights, props and costumes used to communicate meaning to the audience? What did it make you think?
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